Subject Index

Aleksandrov, Anatoly, 4, 5, 36, 101, 126; Sonata Op. 18, 36, 37, 49, 57, 59, 74, 76; Sonata Op. 26, 37, 40, 48

Aleksandrov, Boris: Dance Op. 1, 47, 59, 79, 81, 95-96, 124; Scherzo Op. 1, 48, 95-96, 124

Arts and artists in Russia: literature, 2-3; music, 2, 3-5; painting, 2; research and education, 56

Asaf’yev, Boris, 4, 7, 29, 133

Association for Contemporary Music, 4, 5, 7, 121, 124

Association of Proletarian Musicians, 4, 5

Atonality, 10, 14, 58, 63, 70, 107, 110-21, 124, 126

Balakirev, 3

Bartók, 4, 156

Bass (progressions, layout), 10, 11, 12, 13, 14, 15, 16, 17, 20-21, 22, 24, 25, 27, 32, 35, 36, 37, 38, 40, 42, 45, 46, 48, 49-51, 52, 54, 56, 58, 59, 63, 68, 74, 76, 79, 81, 85, 86, 96, 102, 103, 105-106, 108, 111, 116, 123

Beethoven, Piano Sonata Op. 13, 101

Belayev, Victor, Central Asian Music, 73

Berg, Alban, 4, 122, 161

Borodin, 123, 124

Bridge, Frank, 123

Brusova, Nadezhda, 7, 154

Busoni, 117, 122, 123

Cadences, 10, 11, 13, 27, 29, 33, 34, 37, 38, 40, 47, 49, 50, 51, 71, 84, 94, 95, 101, 102, 103, 105, 108, 112, 113, 114, 115, 116, 117, 122, 137, 142, 159; alternatives to traditional, 32, 39; folk music, 82, 83, 136, 140; modal, 9, 54, 55, 56, 57, 62, 87, 140; plagal coloring, 30, 31, 62; subdominant, 9, 48, 54; symmetry in, 62, 65-66; tonal, 24, 25, 26, 54, 59

Cells, use of, 97-100

Chopin, 17

Chords: added notes, 20, 21, 24, 25, 28, 30, 32, 34, 41, 49, 51, 58, 59, 78, 79, 80, 81; added 6th, 11, 12, 15, 22, 23, 25, 29, 46, 63, 64, 66, 84, 92, 114; augmented 6th, 20, 23, 24, 33, 37, 46, 48, 49, 50, 61, 62, 66, 79, 84, 97, 99, 102, 105, 122; bi-and tri-, 23, 25, 30, 78-81, 82, 97, 120; cluster, 37, 38, 39, 41, 44, 125; dominant, 30, 34, 39, 40, 46, 48, 49, 50, 53, 55, 59, 61, 62, 63, 64, 79, 80, 84, 96, 105; dominant-structured, 9, 10, 11, 12, 13, 14, 15, 20, 21, 22, 23, 25, 26, 29, 30, 37, 44, 46, 49, 50, 51, 59, 60, 65, 78, 79, 81, 86, 92, 93, 94, 97, 98, 114, 115, 120, 122, 123; fifth and fourth, 25, 28-29, 44, 45, 78, 81, 86, 87, 113, 115, 122, 123; generating, 43, 45; parallel moving, 29-30, 31, 48, 49, 58, 74, 76, 133; “pier,” 36, 108; reference, 21-22, 36, 53, 69, 75, 101, 102, 110, 111, 112, 113, 114, 115, 116, 120; statically alternating, 31; symmetrical, 52, 61-70; vehicles for rhythmic patterns, 40, 120; voicing of, 44, 64, 78; with major/minor third, 25, 61, 69, 73, 79, 89-90, 97, 126, 131; 0, 3, 6, 10, 76; 0, 3, 7, 10, xii, 65, 76, 82; 0, 4, 7, 10, xii, 30. See also Harmony

Climax, building a, 91-92, 106-107

Conservatories, 2, 3, 4, 35

Cowell, Henry, 125, 161

Cyclical use of pitches, 115, 118

Dargomyzhsky, 8, 71

Debussy, 2, 3, 30, 122, 123, 159; Jeux, 122; La fille aux cheveux de lin, 155; L’Isle joyeuse, 140, 155, 159; Pelléas et Mélisande, 156; “Sirenes,” 156; Quartet, 156

Dernova, Varvara, ix, 10, 12, 108, 114, 131, 158, 159

Deshevov, Vladimir, 4, 5, 7; Meditations Op. 3: No. 3, 38, 42, 55, 75, No. 4, 48, No. 6, 46, 56, No. 7, 38, 63, 94; Rails Op. 16, 40, 42, 46, 47

Eichhorn, August, 83, 156

Evenings of Contemporary Music, 3

Excitement/emphasis, creation of, 28, 32

Feinberg, Samuel, 8, 28, 101, 124, 126; Sonata No. 5 Op. 10, 36, 45, 48, 50, 57; Op. 15 No. 3, 40, 140

Fifth relationships, 20-21, 24, 25, 51-52, 57-58, 79-80, 101, 102, 103, 105, 106, 107, 108, 111, 112, 113, 116, 122

Focus, use of, 41, 61, 62, 63, 64, 65, 66, 73, 79, 80, 122, 152

Folk music, 1, 6, 7, 8-9, 17, 28, 29, 32, 34, 35, 61, 73, 74, 77, 78, 101, 102, 122, 124, 133, 136, 138, 139-41, 141-47, 154, 157; performance practices in, 123, 152, 160; structure of, 65, 72, 82, 83, 84; symmetry in, 62, 63; work cries, 71; music examples, 133, 134, 135, 138, 139-40, 141-45, 147-53, 157-58; Armenia, 17, 62, 72, 73, 82, 146, 157; Bashkir, 148; Belorussia, 141-42; Caucasia, 17, 62, 82; Don region, 65, 153; Estonia, 159; Georgia, 72, 73, 82, 147, 157; Grodno, 152; Hebrew, 17, 62, 72, 73; Kazakhstan, 73, 146; Kirghizia, 73; Moldavia, 62, 72; Northern Caucasus, 62; Pechora, 143-45; Pskor Oblast, 139; Siberia, 62; Urals, 62, 83; Usvyary, 133; Uzbekistan, 83; Deli Yaman (Armenian), 62; Prialitsa (Russia), 63; Song of the Homeless (Armenia), 72

Functions: ambiguity of, 20, 23, 30, 75, 136; local, 30, 51, 53, 102, 114

Glazunov, 4, 29

Glier, 4

Glinka: influence of, 29, 133; Ruslan and Liudmila, 62, 71

Golyshchev, Efim, 44, 58, 117, 125, 126, 161; String Trio (1925), 117-20

Grechaninov, Aleksandr, 49, 137

Harmony: bimodal, 30, 107, 108; color, 26, 78, 89, 112, 113, 114, 115; compression and elision, 33, 36, 46, 47, 50, 52, 90, 94, 95, 96, 97; dominant preparation, substitute for, 3132, 108; expansion, 51; fluctuation, 36; functional, 28, 30, 51, 53, 57-58, 61, 81, 114; function (weakened), 58-60; functions (local), 26; generating, 37, 43; insertion, 47, 48, 96, 103, 104; integration of melody and, 24, 25, 51, 66, 70, 97, 99, 111, 112, 113, 114, 120; long-term relationships, 10, 14-15, 50, 52, 78, 91; modal, 22, 58, 62; octatonic, 11, 20, 21, 35, 49, 52, 55, 59, 61, 65, 66, 70, 71, 74, 79; stable/unstable, 30, 31; symmetrical, 61, 65, 79, 83, 87; tertiary, 44, 58, 59, 60, 61, 75, 92, 112, 120; tonal, 22, 44; twelve-note, 25, 57; whole-tone, 11, 19, 31, 37, 38, 52, 61, 66, 70, 71, 74. See also Chords; Functions; Pattern making

Hebrew music in Russia, 8, 17

Hindemith, 4, 120

Honegger, 4, 161

Humor in music, 43, 69, 90

Huré, Jean, 126

Iavorsky, Boleslav, 63, 154; The Structure of Musical Speech, 62

Ippolitov-Ivanov, 4

Kandinsky, Uber das Geistige in der Kunst, 2

Kastalsky, Aleksandr, 4, 5

Knipper, Lev, 4

Krein, Aleksandr, 8, 65, 75, 122; Op. 18 No. 2, 48; Sonata for Piano Op. 34, 21-23, 49, 52, 58, 68-69, 73, 74, 75, 79, 101-102, 124

Krein, Grigory, Piano Sonata Op. 27, 48

Kriukov, Vladimir, 4; Piano Sonata No. 2, 49, 59, 137; Schiaflose Nacht, 48

Lenin, 2, 4, 5, 6

Liatoshinsky, Boris: Piano Sonata No. 1, 48; Piano Sonata No. 2, 48

Linear style, 8, 20, 22, 23, 26, 27, 34, 35-37, 43, 44, 46, 47, 48, 49, 56, 57, 58, 59, 63, 78, 82, 83, 84, 85, 93, 95, 102, 108

Liszt, 17; Piano Sonata and other works, 122

Lopatnikov, Nikolai: Ironic Dances, 45; Sonatina Op. 7, 45, 53, 54, 76-77, 90, 91

Lourié, Arthur, 3, 4, 6, 27, 89, 123, 127; Forms in the Air, 7, 42, 59, 97-100, 112, 124, 126; Intermezzo (1928), 41; Nocturne (1928), 39, 41; Preludes Fragilis, 124; Sonatina No. 3, 41, 92; Syntheses: No. 1, 50, 64, 74, 79, 81, 96, 97, 99, No. 2, 42, 96, 97, No. 3, 92, 96, 97, No. 4, 45, 85, 86-87, 96, 97, No. 5, 46, 96, 97; Toccata, 125; Upmann Sketch, 49

Louvier, Alain, 131-32

Lunacharsky, 6, 129

Melody, directional use, 111-12, 120

Messiaen, Olivier, 1, 65, 76, 106, 152, 154; Le banquet celeste, 125-26

Meter, irregularity of, 26, 97, 112, 122, 124

Miaskovsky, Nikolai, 4, 5, 27, 124; Symphony No. 2, 3; Piano Sonata No. 2, 101; Piano Sonata No. 3, 20, 26, 36-37, 49, 50, 55, 73, 101

Microtonal music, 3, 6

Modes, 7, 8, 9, 10, 17, 37, 38, 40, 42, 53, 58, 59, 63, 65, 89, 121, 124, 125, 126; bimodality, 36, 43, 62, 83-85, 108; modal variability, 31, 33, 53, 55-57, 65, 82, 83, 107, 115, 122, 140-46; Phrygian, 85; polymodality, 40, 72, 77, 78, 82-88. See also Scales Modernism, 2, 3, 4, 5, 6, 7, 9, 10, 35, 77, 82, 85, 89, 92, 97, 109, 110, 114, 122, 123, 124, 125, 126, 127; definition of, influences on, 1, 8; opposition to, 2

Mosolov, Aleksandr, 108, 124; Sonata No. 1, 55, 89, 101, 110, 127; Sonata No. 2, 39, 44, 48, 49, 51, 52, 58, 60, 63, 85-86, 101, 102-104, 107, 108, 127; Nights in Turkestan, 48; Nocturne No. 2, 49

Musical and October (RAPM journal), 5

Musical Scientific Society, 6

Musorgsky, 6, 71, 124; Boris Godunov, 14, 62, 63, 65; The Nursery (songs), 124

Neighboring tones and chords, 21, 29, 31, 32, 33, 34, 35, 36, 39, 40, 41-43, 44, 47, 48, 49, 50, 56, 58, 59, 69, 79, 80, 81, 83, 84, 85, 87, 92, 93, 95, 96, 97, 98, 102, 106, 107, 108, 112, 122, 156; focus formed by, 63, 80, 98, 122; in folk music, 82; in bichords, 81, 82

Nielsen, 132

Notation, peculiarities of, 6, 35, 114, 116, 160

Obukhov, Nikolai, 7, 27, 28, 123, 125, 126; Berceuse, 40, 53, 57-58, 74, 80, 126, 160; La livre de vie, 125; Traité d’harmonie tonale, atonale et totale, 80

Ornstein, Leo, 7, 8, 27, 28, 44, 110, 114, 120, 125, 126, 127, 160; Dwarfs Suite Op. 11, 37, 38, 39, 56, 110-11; Wild Men’s Dance Op. 13 No. 2, 38-39; Op. 20 No. 1, 112, 127;

Op. 20 No. 2, 113, 127; Chinatown, 40

Ostinato (including pedals), 8, 32, 35, 36, 37-40, 41, 45, 46, 48, 49, 53, 56, 57, 63, 69, 85, 87, 92, 95, 101, 110, 123, 124, 127; definition of, 37

Pattern making, 45

People’s Commissariat of Public Education (Narkompros), 4, 6

Pictorial devices, 37, 40, 47, 49, 81, 122

Polyphony, 29-30, 52, 65, 82, 91, 120, 121, 124

Prokofiev, Sergei, 1, 3, 4, 7, 8, 19, 20, 22, 26, 27-34, 35, 43, 59, 107, 108, 124, 138; dominants, alternative to use of, 31; harmonic style, 27-29, 30-32; neighboring-tone technique, 28, 34; parallel progressions, 29-30, 31; polyphony, 27, 28, 29-30; separation of stability and concord, 30; tonality and modulation, 28, 33, 34; tonic, use of the, 28, 31; Autumn Sketch, 19; Ballade for cello, 19; Dreams, 19; Four Studies for piano, 3; Piano Sonata No. 1, 32; Piano Sonata No. 2 Op. 14, 30, 33, 51, 72; Sarcasms, Op. 17: No. 1, 33, 55, No. 2, 33, 47, 53, No. 3, 78, No. 4, 73, No. 5, 46; Visions fugitives Op. 22, 8: No. 1, 29, 49, 58, No. 2, 38, No. 4, 33, 38, No. 5, 81, 82, No. 6, 43, No. 8, 46, 58, No. 10, 84, No. 11, 88, 95, No. 12, 31, 33, No. 13, 84, No. 14, 33, No. 16, 84, No. 18, 58, No. 19, 33, 58, No. 20, 83; Sonata No. 3 Op. 28, 29, 51; Sonata No. 5 Op. 38, 31, 33; Rondo Op. 52 No. 2, 29, 34, 53

Proletarian Culture (Proletcult), 4, 7

Proletarian groups, 2, 4, 6, 7, 121

Protopopov, Sergei, 62-63

Ravel, 3, 30; Miroirs, 159; String Quartet, 123

Realism in the arts in Russia, 6, 7

Rebikov, Psychological Dramas, 44

Revolution, effect of the, 1, 3, 4, 5

Rimsky-Korsakov, Georgi, 3

Rimsky-Korsakov, Nikolai, 3, 4, 8, 14, 28, 29, 45, 71, 123, 132, 146, 160; Antar Symphony, 71; Sadko Op. 5, 71; The Golden Cockerel, 62; The Snow Maiden, 14, 62, 71

Roslavets, Nikolai, 2, 4, 5, 8, 26, 27, 51, 58, 70, 124, 129, 160; Piano Sonata No. 5, 126, 127; Poem (1916), 50, 52, 76, 80, 91; Poem No. 1 (1920), 23, 24, 25, 50, 64, 65, 79; Poem No. 2 (1920), 24, 50, 64; Quasi Poem (1920), 116-17; Quasi Prelude (1915), 114-16, 126; Scherzo, 7; Sonata No. 1 for violin and piano, 44; Three Compositions (1914), 24, 26, 44, 114, 115, 116, 120, 127: No. 1, 25-26, 46, 50, 114, No. 2, 114; Violin Concerto, 124, 127

Russian Association of Proletarian Musicians, 2, 4, 5

Russian Classical theory, 9, 29, 32, 62, 132, 133, 136

Russian Nationalist (Classical) School, 1, 2, 3, 4, 6, 7, 8, 14, 17, 28, 29, 32, 34, 49, 54, 55, 62, 71, 72, 82, 107, 108, 123, 124, 136, 142

Sabaneev, Leonid, 6, 28, 49, 124, 132, 160; Piano Sonata Op. 15, 28, 49, 91

Saminsky, Lazar, 72, 77, 123, 159, 160; settings: Ah, This Misting Day, 82, Deli Yaman, 62, 65, 82, Hebrew Dance, 62, 72, On the Distant Ridge, 83, Song of Solomon, 82, 83; Op. 22 No. 4, 73; Music in Our Day, 123, 155

Satie, Les fils des étoiles, 122

Scales, 6, 7, 9, 89, 91, 111, 112, 114, 116; chromatic, 75, 76, 77, 91, 97, 105, 109; diatonic, 76-77, 114, 126; Hebrew, 8, 17, 72, 73; inflections of, 31, 71, 72, 74, 78, 82, 83-86; interaction between, 75-76; modal, 17, 18, 2122, 36, 40, 62, 76, 140; modes of limited transposition, 12, 18, 61, 65, 76, 125, 126; multimodal, 72; octatonic, 8, 12, 18, 20, 21, 28, 35, 52, 55, 59, 61, 63, 64, 65, 66, 69, 70, 71, 72, 73, 74, 75, 76, 78, 79, 97, 99, 104, 116, 117, 125, 126, 131, 155, 161; octave equivalence, 72; pentatonic, 62, 71; reference, use as a, 110; symmetrical, 71, 72; variable, 31, 61, 71, 72, 73; various, 71, 72, 73, 77, 111, 122, 123; whole-tone, 8, 14, 19, 52, 59, 61, 66, 69, 70, 71, 72, 74, 75, 76, 77, 91, 105, 123, 155; work cries, 71, 155; 0, 6, 10, 74, 76, 155. See also Modes

Schoenberg, 2, 3, 117, 120, 124, 156, 160; Chamber Symphony No. 1, 122, 123

Serialism, 89, 117, 120, 121, 126

Set theory, 10

Sets, use of, 24, 44, 97, 99, 110, 114, 115, 116, 117-20, 122, 124, 125, 126, 127, 158, 159, 161; nonrepetition of durational values, 117, 118, 126

Shaporin, Iury, 8; Scherzo Op. 5a, 54

Shcherbachev, Vladimir, 4

Shebalin, Vissarion, 5, 8; Sonata No. 2 Op. 7, 20, 36, 38, 51, 54

Shillinger, Joseph, 8, 75, 122; Op. 12: No. 1 “Heroic Poem,” 20, 35, 47, 50, 52, 55, 59, 75, 80, 81, 126, No. 2 “Dance,” 41, 56, 62, No. 3 “Humming Machines,” 70, No. 4 “Eccentric Dance,” 40, 50, 56, 73, No. 5 “Grotesque,” 43, 47, 56

Shostakovich, Dmitri, 2, 7, 124, 161; Three Fantastic Dances Op. 5, 46, 55; Piano Sonata Op. 12, 44, 45, 49, 89, 101, 127; Aphorisms No. 6 Op. 13, 41; Symphony No. 5 Op. 47, 161

Sibelius, 124; Symphony No. 2, 122; Symphony No. 4, 122

Skriabin, Aleksandr, 1, 2, 3, 6, 8, 9, 10-18, 19, 20, 21, 22, 23, 24, 25, 26, 27-29, 35, 43, 44, 46, 48, 61, 63, 65, 74, 75, 76, 79, 81, 114, 122, 123, 124, 125, 126, 127, 128, 131, 136; folk music, influence of, 10, 17; harmonic progressions, 11, 14-15; harmonic resolutions: long-term, 10, 14-15, 28, alternative to traditional, 13; harmonic style, 1, 10, 11-18: compared with Prokofiev, 27-29; influence in Russia, 19-26; modal coloring, 10, 17-18; pitch hierarchy, nontonal, 10, 15-17; Sonata No. 4 Op. 30, 54; Op. 33 No. 3, 11; Op. 42 No. 2, 17, 19, 64; Op. 45 No. 2, 12; Op. 49 No. 1, 17; “Fragility” Op. 51 No. 1, 10, 11, 12, 54; “Enigma” Op. 52 No. 2, 10, 64; Poem of Ecstasy Op. 54, 27; Op. 57 No. 1, 1, 11; Op. 57 No. 2, 1; Op. 58, 1, 10, 11, 12, 13, 14, 15, 16, 59, 63, 64, 65, 66, 67, 74, 79, 91; Op. 59 No. 1, 11, 12, 13, 16, 59, 64, 67, 91; Op. 59 No. 2, 11, 12, 13, 14, 16, 18, 23, 74, 76, 91; Prometheus Op. 60, 1, 78; Op. 61, 11; Op. 63 No. 1, 66, 67; “Etrangeté” Op. 63 No. 2, 15-16, 25, 66, 67, 70, 74, 76; Sonata No. 7 Op. 64, 64; Op. 69 No. 1, 67; Sonata No. 10 Op. 70, 13, 17, 55, 67-68, 89, 91, 102, 104-107, 127; Op. 71 No. 1, 67; Op. 71 No. 2, 67; Vers la Flamme, Op. 72, 15, 28, 90-91, 122; Op. 73 No. 1, 1, 14, 21, 23, 67, 146; Op. 73 No. 2, 1, 14, 21, 23, 67; Op. 74 No. 1, 12, 14, 18, 23, 66, 74, 76; Op. 74 No. 2, 17, 18, 76, 89; Op. 74 No. 3, 13, 18, 21, 76; Op. 74 No. 4, 17, 18, 73, 76, 89-90, 91, 97; Op. 74 No. 5, 11, 21, 63, 74, 76, 132

Social conditions, 3-5, 127

Society for Quarter Tone Music, 3

Stanchinsky, Aleksei, Sonata 1911/12, 47

State Academy of Artistic Sciences, 6

State control of the ans, 1, 2, 4, 5, 6, 7

State Institute for Research in Music, 6

State Institute for the History of the Arts, 6

Strauss, Richard, 3, 124

Stravinsky, Igor, 3, 4, 8, 19, 125, 127, 130, 160; views on music of Skriabin, 19; Firebird, 3; Five Easy Pieces No. 4 “Napolitano,” 38; Four Studies for piano (1908), 19; Petrushka, 3, 78, 81; The Rite of Spring, 3; Three Easy Pieces (duet) March, 40

Structures, 1, 10, 17, 28, 37, 40, 89-100, 110, 126; antecedent and consequent, 101, 102, 103; arch form, 117, 120; based on opening bats, 89; based on the 2nd, 95-96, 124; based on the 3rd, 89-90; climax building, 91; continuous resolution, 90, 91, 97; cyclical pitches, 115, 117, 118; development and commentary, 104, 106, 152; durational values, 126; endings, 112, 119, 120; melodic patterns, 111, 112, 113, 120; groups of pieces, 95-100; insertion, 103; intervals, use of, 89, 95-96, 100, 127; motifs, use of, 99, 110, 112, 113; nontonal, 110-21; opening bars, derived from, 89, 105, 116; reference chords/pitches, 110, 111, 112, 113, 114, 116, 120; sonata forms, 101-109; stability and instability, 45, 92-95, 105, 106, 108; subdominant, 53, 54; surface features, use of, 89, 90, 91, 96-97, 99-100, 103-104, 110, 112, 113, 114, 117, 118, 119, 120, 126; symmetry, 61-70, 101, 102; tritone and adjacent semitone, 49-51, 52, 54. See also fifth relationships

Symmetry in music, 8, 10, 18, 28, 37, 38, 52, 53, 58, 59, 61-70, 79, 84, 89, 101, 102, 105-107, 108, 117, 119, 122, 123, 124, 151-52; definition of, 61

Szymanowski, 23, 122; Mazurkas Op. 50, 155; String Quartet Op. 37, 78

Taneev, 4, 29, 62; counterpoint, use of, 29; Prelude Op. 29, 124

Tchaikovsky, views on voice leading, 29

Tcherepnin, Aleksandr, 63, 65, 79, 122, 127; his notes on technique, 73-74; Pieces Without Title: No. 1, 65, 84, No. 2, 44, 63, 84, No. 3, 61, No. 5, 38, 69, 73, No. 7, 65, No. 8, 62, 65; Sunny Day Op. posth., 83; Toccata Op. 1, 73; Dance Op. 2, 45; Romantic Sonatina Op. 4, 73; Op. 5 No. 5, 44, 56; 12 Preludes, cello/piano Op. 38, 73-74

Tcherepnin, Nikolai, 35

Time values, nonrepetition of, 117

Tonality, 10, 11, 12, 13, 14, 27, 28, 29, 33, 38, 39, 40, 44, 45, 49, 50, 52, 53-60, 61, 63, 64, 65, 74, 80, 81, 82, 84, 89, 91, 92, 102, 103, 110, 121, 122, 123, 124, 126; alternative to tonal unity, 26, 52, 70; bitonality, 41, 43, 78, 82, 108; crisis of, 124; definition of, 37, 39, 50, 53, 54, 55, 57-58, 61, 110, 111, 112; delayed, or progressive, 53, 54, 55; definition of term, 53; expansion, 19, 32, 33, 76; nontonal structures, 15-17, 110-21; plagal element, 9, 53, 54; polytonality, 78; traditional and modernist, 63, 70; triadically related pitch centers, 52, 53, 56, 57, 82-87, 88, 105, 107, 108, 116, 122, 146, 149; vested in a single note, 136; vested in a single triad, 53; weakened, 37, 39, 47, 50, 58-60, 61, 63, 86, 91, 98, 121. See also Neighboring tones and chords Trill, 42, 46, 52, 55, 91, 98, 106, 127

Tritone, 10, 13-18, 22, 23, 24, 25, 26, 31, 33, 36, 42, 49, 50, 51, 59, 60, 62, 63, 64, 65, 66, 67, 70, 71, 72, 74, 81, 82, 86, 93, 95, 97, 98, 99, 102, 103, 104, 105, 106, 107, 108, 111, 113, 114, 115, 116, 122, 123; relative stability of, 63

Tritone and adjacent semitone progression, 11, 26, 28, 29, 49-51, 59, 64, 84, 87, 95, 105, 122, 123

Twelve-tone music, 8, 80, 115, 125, 126, 161

Union of Soviet Composers, 2

Vasilenko, Sergei, 4, 5

Vishnegradsky, Ivan, 3, 73; Autumn, 73; Preludes Op. 2, 19-20, 64

Voice leading, 22, 29, 32, 35, 42, 49, 53, 61, 68, 87, 103, 106, 108

Wagner, 79, 136

Webern, 121, 126; Concerto Op. 24, 156; Five Movements for string quartet, 122

Western music, 8, 9, 14, 32, 55, 81, 82; influence of, 3, 4, 121, 122, 123, 124, 129

Zhaleika, 72